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thope

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Posts posted by thope

  1. Hi Paul,

     

    Thanks for the update. Have you seen the video I sent through via my dealer? I'd be surprised if it was just an rf issue. I've had 2 actors standing next to each other in a scene and 1 of the packs will just totally shut down and the other will still have full RF. If I don't do anything then the pack will just come back on its own after about 20 seconds. If I turn it on again via the nexus it comes back quicker. Problem is always worse when the ratpac wireless dmx is in use. 

     

    Thanks for your help so far

     

    Trev

  2. So I'm 10 weeks into using the system .. mostly  happy.

     

     

    I'm having an issue with the a20 minis.. I'm finding that they randomly turn them selves off !  Happens maybe 5 times a week. Almost certain it's related to the wireless lighting control system.

    Had very minimal contact back from SD... would like to know if this is happening to others..

     

     

  3.  

    On 8/8/2023 at 4:41 AM, Paul Isaacs said:

    With Nexus docked, the 8-series trim knobs ARE adjusting 8-series digital input gain - they are not controller knobs for digital output gain on the Nexus. The Nexus output gains are set to unity (0 dB), then you apply whatever 8-series trim gain you need to bring the received signal to the level you need. Since the 8-series gain is digital gain for a Nexus input, there is no noise penalty. Of course, if you crank the 8-series gain super high (there is up to 60 dB digital trim gain available), you can exceed 0 dBFS and get digital distortion so you still need to set gains appropriately. You can get the same benefits of GainForward with Cantar or any other mixer - just set your Nexus digital output gains to a fixed nominal level (unity or more if you need more level), then connect via Dante or AES to your Cantar (or other mixer) and apply digital gain there. As long as the signal remains in the digital domain throughout the entire signal path, there will be no noise penalty.

    Thanks for clearing this up Paul. I made an incorrect assumption when I noticed the greyed out gain setting on the nexus when docked. 

    Are you able to clarify the difference between how the nexus down converts to 24 bit when used with dante versus how an 8 series does it?

     

    Thanks 

     

    Trev

  4. 3 hours ago, IronFilm said:

    Perhaps if you could have a bank of knobs like there exist already for the 8 Series? That people have made:

    Like this:

    https://iddqd.dk/shop/vare/id-tf6-6-ch-trim-volume-for-833-888-or-scorpio/

    Would be quite awesome if something similar could be made to work directly with the Nexus?? 

    That's exactly what I was hoping for. A simple bank of knobs that you could plug into the usb port on the back of the nexus and have control at your fingertips.  I'm not sure what sort of software support sound devices need to supply to get this to work..

  5. Thanks for the link to the video. They don't really go into this topic in detail here, or any where else that I've seen. They way I currently understand how gain forward works with a nexus docked onto an 8 series recorder is that the trim knobs on the 8 series essentially just become controllers for the output gain on the nexus. I don't believe you're adjusting the digital input gain on the 8 series at all.

    When I was testing the nexus connected via Dante to my X3 , I found it pretty easy to end up with a clipped digital signal. Just prior to the Dante chip in the nexus the signal is truncated from 32 bit float to 24 bit and is where the clipping occurs. I think to get the most benefit of the 32 bit floating transmitter, you're better off doing all gain adjustments through the nexus so its done before the signal hits the Dante board in the nexus. It would be great to be able to do this with knobs rather than with software or on the nexus itself. It's not practical while mixing a scene to have to dig into the nexus menus. I have asked SD this directly and they did think it would be a good idea for people who own nexus and other manufacturers recorders.

    think that the 8 series recorders work natively in 32 bits  (but don't record 32 bit float) and so you probably get an advantage here  because the 8 series is doing the conversion from 32 bit float to 24 bits for recording and it isn't done in the Dante chip.

     

  6. Let's get this topic back on to Sound Devices and the Nexus!

     

    I'm loving the system.. in Pre production at the moment for its first job. 

     

    How many Nexus users do we have out there that aren't recording on 8 series recorders? I use a Cantar and would love to have knobs to control the gain on the nexus...much like you can do with the 8 series recorders. It would he cool to plug a  bank of knobs directly into the USB port on the back of the Nexus... 

    Would be great to see if there's enough users interested in this to make SD take notice. 

     

    Trev

  7. 52 minutes ago, Ben B said:

    So far i've only been doing test at home. I did some walk test from my building with my girlfriend wearing one A20 mini on one ankle and one SMQv (100mW) on the other. I chose ankle because that's a placement i use a lot on drama and i think it's also one of the worst placement RF wise. Setup was the A20 mini into the nexus and the SMQv into an SRC in ratio mode connected to the cascade out of the nexus and nexus connected to 2 LFA antenna with 4dB of gain at the antenna. I was on the first floor with antenna through the window. Clean and coordinated frequencies for both Tx.

    I had the A20 on 2mW to start, but quickly had to increase to 10mW (as soon as we had a couple walls between us), and then 20mW when she got further away. The SMQv dropped out first and i pushed the a20 mini to 40mW and got more range. I had line of sight pretty much all the way. About 100-120 meters away (still had range on the A20mini) she got around a corner of a building. The range dropped significantly but still had clean audio and when she got on the other side of the building i had heavy drop outs. There i still had connection to Nexlink. I did all the changes on the A20 mini while she was walking away and they took effect very fast. So pretty much as advertised by SD.

    I am pretty impressed of the range of the A20 mini. I know my SMQv pretty well and they always got me enough range to do 99% of the jobs so it was a good surprise to see the a 20 mini go further. But that test wasn't on set with all the RF crap we have spraying around.

    I can see the 2mW being useful when the cart can be pretty close to talents and otherwise use the 20mW to cover 90% of the situations. But that is yet to be proven on set. 

    The nexus performs flawlessly so far beside a bug on the antenna control when using the cascade out. The bug has been reported to SD and they should be working on it i guess. I'm using the combination of Nexus and SRc only for that film, i'll transition fully to A20min and A10Tx for the next film this year.

     

    I will start my first feature with that setup on Monday so i'll report back after the 6 weeks of shooting. We'll shoot indoor, outdoor, city, mountains, cars and all that so it will give me a good array of different situations. I'll report back then.

    Thanks so much for your reply.

    I did a very similar test last week and had similar results. The nexlink did indeed extend to double the range of the audio stream.

     

    Really keen to see how the transmitters hold up after a shoot. The battery door looks very breakable to me.

     

    Trev

  8. On 4/13/2023 at 3:13 AM, Ben B said:

    I will be using the cascade out for that film. But if it‘s just affecting the remote control functions of the LFA it‘s a problem i can live with for this film. 
    If the system works well on this project i‘ll be fully switching to the A20 so won‘t be using the cascade out anymore.

    i‘ll be happy to report after a few weeks of using the Nexus, A10 Tx and A20 mini.

    Hi Ben,

     

    I'd love to hear your thoughts on the using the system, now that you've been at it a while?

     

     

    Thanks in advance 

     

    Trev

  9. Hi Guys,

     

    Has anyone experienced any issues with a CMIT into a Lectrosonics HM? I used a friends CMIT for a film a couple of years ago and loved it. I finally bought my own one but can't get it to play with my HM plug on. There is no level out of it until I set the TX to 55 (max) and then its terrible and unusable, with hiss and noise. It works fine cabled into my recorder. Is there some grounding issue here? My friends CMIT worked fine with the same transmitter.

     

    Any help would be appreciated.

     

    Trev

  10. On 4/11/2020 at 12:04 PM, Derek H said:

    I was just wondering the same thing. It appears that the axle is somehow mounted to the end of a t-slot bar. Are you using a single long axle through the whole bar or individual axle bolts? Did you have a custom piece machined to hold the axles?

    Hi guys,

     

    Hope everyone is holding up well in these trying times!

     

    Wheels are mounted to the cart by a single long axel through the entire length of the t slot. I was lucky that the diameter of the T slot centre hole matched that of the wheel. So all I did was cut a steel bar to length and then cut a thread into each end.

     

    I purchased everything from Maytec. The free design software is amazing! They have a range of excellent panels to use for shelving. In the end I went for a composite material. Its hard plastic in the middle sandwiched by very thin pieces of aluminium. Its exceptionally light weight and strong enough for purposes. The only thing is that it does get scratched easily.

     

    Trev

  11. Hi Karl, 

     

    Thanks for your reply. 

     

    If the bandwidth limitation is a function of sending 2 channels, would it be possible to send a single channel mono full bandwidth signal? 

     

    This would make it better as a camera hop in my humble opinion.

     

    Trev 

  12. Hi all,

     

    I'm very interested in this system. I love the idea of having 1 transmitter sending a mix that can be used by a receiver for a camera hop as well as listened to as an ifb. 

     

    However I just discovered it's bandwidth limited to 12khz.(or there about) 

     

    Karl is there anyway to disable the LP filter? Can't seriously consider this as a camera hop without it. Considering the digital transmission...is there a way to output a full bandwidth, aes signal from the receiver?

     

    Thanks in advance 

     

    Trev

  13. I'm dealing with this problem at the moment. We're shooting in +40 C with humidity and the red cameras have what we call "Chernobyl" melt downs regularly. The Tilta backs are terrible, though we do seem to have some control over them. Are you sure camera department arent telling fibs? We've had both our lead actress and the DOP complain about them. I've sent samples to sound post to keep them in the loop. That's about all you can do. Cover your self and hope next time production won't bother with those silly little toy cameras.

  14. Are shot lists still a thing? I mainly do scripted drama and am constantly amazed about how much is made up on the spot. This is despite weeks of pre production and location recces.. we arrive to shoot and coverage is improvised on the day. I'm young enough to have grown up this way, but have fond memories of film school where the whole film was shotlisted and everyone had all the information to be able to get on with it. I'd love to know if this happens everywhere or just where I work.

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